Nothing makes you feel more alive than the beautiful art of ballet. Ballet encompasses a mixture of technique, co-ordination & musicality. It is a fantastic way to get in shape, improve your flexibility, core strength & posture. In each ballet class we do technical barre work & strengthening exercises, adage work to improve balance & allegro to get you jumping & working up a sweat. So if you want to have some fun, get a great workout & feel graceful all at the same time, ballet is for you!
It can be fantastic exercise and hone your body like no other dance can. It can also injure you in a variety of ways, some of which you can only imagine and all of which are howlingly painful.
It’s a lot of sweat and hard work. But is it worth it? Absolutely.
And are you ever too old to learn Ballet? NO! But the younger you start the more flexible you stay.
You must turn up on time. Ballet class starts at the barre and if you’re late, not only will you have missed vital exercises but you’ll have to squeeze yourself into a space on the barre causing those in front and behind you to have to shift their positions, which isn’t fair. There are some Ballet teachers who, once the class starts, shut the studio door and that’s it. There’s no entrance for any latecomers. You’ve been warned.
There’s really no talking in Ballet classes, whether you are a kid starting out, a teen studying for exams or a grown-up there for fun. It’s an hour to concentrate on the teacher and on your own body, and your dancing improves with no distractions like comparing yourself to or gossiping with the person next to you.
It’s the same quiet calm as a yoga class, although a good teacher will include a few well placed laughs. A good Ballet class has a quietly courteous atmosphere.
Be respectful of the floor, particularly if it’s wooden. Don’t wear your outdoor shoes into the studio.
When you move into the central space of the studio, again, make sure you have enough room around you – don’t crowd other people or allow them to crowd you. You should have enough space around you to stretch out your arms and not touch anyone or the walls.
Ballet, as we know it today, began during the Renaissance around the year 1500 in Italy. In fact, the terms “ballet” and “ball” as in masked ball, come from the Italian ballare, to dance. When Catherine de Medici of Italy married the French King Henry II, she introduced early dance styles into court life in France.
At first, the dancers wore masks, layers upon layers of brocaded costuming, pantaloons, large headdresses and ornaments. Such restrictive clothing was sumptuous to look at but difficult to move in. Dance steps were composed of small hops, slides, curtsies, promenades and gentle turns. Dancing shoes had small heels and resembled formal dress shoes rather than any contemporary ballet shoe we might recognize today.
The official terminology and vocabulary of ballet was gradually codified in French over the next 100 years, and during the reign of Louis XIV, the king himself performed many of the popular dances of the time. Professional dancers were hired to perform at court functions after King Louis and fellow noblemen had stopped dancing.
A whole family of instruments evolved during this time as well. The court dances grew in size, opulence, and grandeur to the point where performances were presented on elevated platforms so that a greater audience could watch the increasingly pyrotechnic and elaborate spectacles. Jump ahead 200 years and take a look at the proscenium stage at the War Memorial Opera House–the elevation of the stage and dramatic height of the curtained opening will remind visitors of this development first hand.
From Italian roots, ballets in France and Russia developed their own stylistic character. By 1850 Russia had become a leading creative center of the dance world, and as ballet continued to evolve, certain new looks and theatrical illusions caught on and became quite fashionable. Dancing en pointe (on toe) became popular during the early part of the nineteenth century, with women often performing in white, bell-like skirts that ended at the calf. Pointe dancing was reserved for women only, and this exclusive taste for female dancers and characters inspired a certain type of recognizable Romantic heroine – a sylph-like fairy whose pristine goodness and purity inevitably triumphs over evil or injustice.
In the early twentieth century, the Russian theatre producer Serge Diaghilev brought together some of that country’s most talented dancers, choreographers, composers, singers and designers to form a group called the Ballet Russes. The Ballet Russes toured Europe and America, presenting a wide variety of ballets. Here in America, ballet grew in popularity during the 1930’s when several of Diaghilev’s dancers left his company to work with and settle in the U.S. Of these, George Balanchine is one of the best known artists who firmly established ballet in America by founding the New York City Ballet. Another key figure was Adolph Bolm, the first Director of San Francisco Ballet School.